Jonathan Kearney at digital surface

CASE STUDY

Context

Brief outline of the artist’s practice

For the last 8 years I have been using PVA (white) glue, colouring it with acrylic and pouring it over surfaces. This work has taken the form of installations, flat canvases, photographic images and films.

Brief explanation of working process

Over the years I have found that my relationship to the material I use has changed. To begin with I was just getting to know what was possible, the glue had a life of its own and I was slowly becoming familiar with it. Gradually I was able to influence the glue and its movement and sometimes even orchestrate it. I then moved to China and lived and worked there for 3 years. Everything changes, the glue, the acrylic, the canvas, the wood, even the atmosphere, living in a city high in the mountains, was different the drying times for the glue dramatically speeded up. I had to learn the new rhythms of the new materials.

For this case study I have created a new piece of work called ‘uncover (jiekai)’ which consists of 2 ‘layers’ of projected film. The front ‘layer’ is seen until the audience moves in the gallery space at which point the second ‘layer’ is uncovered. The uncovering only gives a fleeting glance at the ‘layer’ of film behind. The front ‘layer’ is a film of glue flowing and the second ‘layer’ is of a Chinese calligrapher’s brush strokes on paper.

Relationship of digital technology to other processes/technologies

For this piece the digital technology becomes part of the medium, it is a vital element in achieving my vision. There is no physical object, instead the ‘print’ exists as a projected screen which is interacted with by the audience. The projected film conforms to the broader definition of a print as suggested by Whale & Barfield (2001), as an exactly reproducible artistic statement. However, the digital technology interferes with and blurs this boundary, allowing the viewer to take the ‘print’ and remix it into a new form.

Indication of how you regard the surface in terms of importance

In this particular piece the surface is virtual, the front ‘layer’ of film acts as the surface but the movement of the audience can ‘dig’ through this surface and uncover another one below. The projection screen is an important element as it captures the virtual surface giving it a presence in the space. However, despite using words such as ‘layer’, ‘dig’, ’surface’ and ‘presence’, there is an ongoing paradox that the digital allows a presentation of a ‘print’ which has no physical existence.

Specific issues to the new piece of work

At what point in the development of the work is the size of the image fixed?

Elements of the image are fixed and determined by the equipment available. The films are shot in 4:3 format and edited the same. However the projection size is limited only by the space. This piece was first shown in an exhibition in Sweden (July-August 2008), the projected image was approximately 200cm wide x 150cm high, my plan is to experiment with it even larger.

At what point is the actual surface considered?

An interest in the surface and the audience interaction with the surface was the key idea behind this piece and therefore the surface was considered throughout the planning and creation of the piece.

What factors determine the choice or creation of the surface in this new work?

Conceptually, the surface in this piece is the relationship between the 2 films, the flowing glue and the calligrapher’s brush. This comes from many years of watching glue flow and living in China for several years and watching calligraphers at work. It feels like I am still uncovering the connections and in this piece the surface is represented in the same way, effort is required to uncover the hidden surface. Even slight audience movement gives a fleeting glimpse of the hidden layer, but to gain a prolonged view then more consistent, more active movement is required.

Physically the surface is whatever is used the trap the light waves of the projected image to give it presence for the audience. In the Swedish exhibition it was simply a white projection screen.

How does working digitally contrast with other practises you have used?

When I make canvas based work there is an interaction between me as artist and the glue, I influence it, alter its flow, modify the colours and sometimes even orchestrate the patterns and textures that are revealed on the surface. Working digitally, for this piece, gives a different influence. It allows me to explore the concepts and feelings that I go through as I create, it gives the audience access to those moments and discovers a space where new connections are possible.

Whale, G. Barfield, N. (2001), Digital Printmaking. London: A & C Black Publishers

Information on new piece of work

‘uncover (jiekai)’ is flexible in size and scale and can be shown on a single screen or in a large projected installation.

The lighting in the space means that careful adjustments of the software settings are required in order to obtain effective response to the movement of the audience. For example, for the Swedish installation there were windows that could not be covered and at different times in the day the sun could dramatically change the lighting and therefore the movement that the camera sensed.